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This 40 year anniversary collection traces Brother Culture's career and includes some of his biggest hits, with remastered versions of these classics. The album includes his hits Jump Up Pon It (25 million streams), Supanova (15 million streams), My Selecta (2 million streams), and some of his most listened-to tracks ever released on vinyl.

A composition simply means things being put together. In music, we usually think of composition as a classical idea. But in recent years, the possibilities of what ‘composing’ can be, have dramatically increased. Based in Oslo, Norway, Deathprod (aka Helge Sten) has been making his own forms of music with no compromise since the early 90s. His specialty is a deeply atmospheric, grainy minimalism that slows time down and explores the very particles of sound itself. This music can sound forbidding and alien at first, but compared to his more brutal output, it’s an extraordinarily close and intimate experience. The first new Deathprod studio project since 2019’s OCCULTING DISK, Compositions is the result of an intense period at his legendary Audio Virus Lab studio in central Oslo. All tracks are released in chronological order – in other words, the order in which they were recorded. Helge used a personal, unique combination of obsolete digital audio processors and sound generators, combined with his own secret-sauce tuning system. Like gazing at the wonders revealed by an electron microscope with Helge compositional control directs your attention to a succession of ever more spellbinding details and textures. Helge adopted the Deathprod alias in 1991. A complex array of homemade electronics, samplers, sound processing and analogue effects – cumulatively known as the ‘Audio Virus’ – combined with obsolete samplers and playback devices, to distort and transform sounds into unrecognizable relatives of their former selves. On the new album Compositions, the virus has evolved into even more fascinating and kaleidoscopic new strains. Electronically generated sounds vibrate and tremble like undiscovered metals ringing and resonating together. Sonic forms attract or repel each other as if under the influence of a strange magnetism. None of the tracks are over four minutes, but no way are these ‘miniatures’. Each one contains its own fully-formed galaxy of tones and clusters, while all tracks audibly belong in the same universe. These are 17 compositions in search of a sonic ideal. His off-grid audio control centre created a parallel acoustic universe which he filled with mutated samples and electronic textures. Even the gaps between the tracks are part of that universe. Helge left the almost silent, twitching crackles of his snoozing analogue gear intact, ensuring a smoother transition between them. Helge is continually striving to find new parameters and possibilities for what music can be – what you can affect with the medium of sound. From the intricate homemade miniatures of Treetop Drive to the bonecrushing electronic barrage of Morals and Dogma and OCCULTING DISK, the different sides of Deathprod are all products of the same obsessive focus and self-discipline in pursuit of sonic exploration. His Compositions are private rather than public music: like introspective chamber or solo compositions instead of the more strident, outward-looking tones of a symphony. Helge is a founder of Norwegian improvising group Supersilent and has produced records by Motorpsycho, Susanna, Jenny Hval, Arve Henriksen and others. He recently composed music for Harry Partch’s legendary instruments, which can be heard on Sow Your Gold in the White Foliated Earth, released in 2022 on Smalltown Supersound.

By now Nicola Loporchio aka Nico Lahs has a discography that has become respected and sought after among DJs and music lovers in dance music across the globe.

Whether it be deep, atmospheric, jackin' or jazz-flecked deep house, it's all firmly rooted in house music tradition, something that Nico Lahs masters with ease.
With releases on labels like Moods & Grooves, Delusions Of Grandeur, Ovum, HotMix, Adeem plus many more, he shows no sign in slowing down either.

Ancestors Call is a musical story told in two parts. Filled with melodic and spiritual deep house, sitting somewhere between classic deep house and the spiritual end of house royalty Ron Trent's output.

Just like his previous releases Nico is a producer that has both the confidence to blend late night deep house vibes with soulful dance floor magic. It's house music that is very honest.

Part 2 dives deeper and adds additional layers of melody that tie the whole release firmly together. With Nico Lahs talented songwriting, his evolution is endless and bright...

Ancestors Call is something you listen to from start to finish, each song building a musically expansive story.

Ugly Mac Beer, a key figure in the French breakbeat scene, founder of Beatsqueeze Records and author of the critically acclaimed albums Modonut 1 & 2 alongside Mister Modo, is back with a new solo album “The Valley of the Kings”, between lofi hip-hop, abstract hip-hop or even broken beat, which will be released on January 27, 2023.

A digger/beatmaker effort par excellence, very inspired by the 90s productions of masters of the genre such as Madlib, DJ Shadow or RZA, the concept of this instrumental album with oriental sounds is based on the search for the sample of “THE” ultimate and perfectly heady loop, which can be listen to over and over again.

The eponymous title track which opens the album sets the tone with its powerful lofi hip-hop drum on a big cinematic and orchestral sound which evokes an Egyptian peplum of the 60s taking place in the heart of the mythical valley of the kings! Another highlight of the album, the track “Les chœurs perdus” resonates like a children’s tale, with its bewitching voices and magical songs set to a catchy beat that evokes the Egyptian goddesses and the mystery of the pyramids. To compose the powerful and rather dark beat of “The New Flame”, another essential piece of the album, the beatmaker drew his inspiration from New York hip-hop from the 90s but also from “crime film” soundtracks from the 70s. The sublime interludes “Fortune & Gloire”, “Years of Despare” and “Ambitious Dream” take us from one track to another, each one more powerful than the other.

In a very cinematographic mood, Ugly Mac Beer succeeds in developing its “old film about Egypt” album concept from start to finish and thus manages to tell a real story that takes us on a journey back in pyramids time.

Ugly Mac Beer, a key figure in the French breakbeat scene, founder of Beatsqueeze Records and author of the critically acclaimed albums Modonut 1 & 2 alongside Mister Modo, is back with a new solo album “The Valley of the Kings”, between lofi hip-hop, abstract hip-hop or even broken beat, which will be released on January 27, 2023.

A digger/beatmaker effort par excellence, very inspired by the 90s productions of masters of the genre such as Madlib, DJ Shadow or RZA, the concept of this instrumental album with oriental sounds is based on the search for the sample of “THE” ultimate and perfectly heady loop, which can be listen to over and over again.

The eponymous title track which opens the album sets the tone with its powerful lofi hip-hop drum on a big cinematic and orchestral sound which evokes an Egyptian peplum of the 60s taking place in the heart of the mythical valley of the kings! Another highlight of the album, the track “Les chœurs perdus” resonates like a children’s tale, with its bewitching voices and magical songs set to a catchy beat that evokes the Egyptian goddesses and the mystery of the pyramids. To compose the powerful and rather dark beat of “The New Flame”, another essential piece of the album, the beatmaker drew his inspiration from New York hip-hop from the 90s but also from “crime film” soundtracks from the 70s. The sublime interludes “Fortune & Gloire”, “Years of Despare” and “Ambitious Dream” take us from one track to another, each one more powerful than the other.

In a very cinematographic mood, Ugly Mac Beer succeeds in developing its “old film about Egypt” album concept from start to finish and thus manages to tell a real story that takes us on a journey back in pyramids time.

On Origins Chris Bartels takes on the role of singer-songwriter for the first time under his Elskavon moniker, unveiling a voice that wouldn't sound out of place next to vocal-forward artists like Justin Vernon, Jónsi, or Baths, who master the balance between conventional songcraft and bold, idiosyncratic experimentation. Origins is vast yet intimate, fluttering yet cohesive, tattered yet clean, a little like rainfall during sunlight. Shedding the ambient-classical confines of his previous output, the album's opener and title track, offers a swirling mosaic of acoustic textures that recall the beloved duo The Books, laced with warped vocal utterances flitting in and out of a club-friendly beat. "Origins" is followed by the equally danceable "Coastline," which drives home the smiling melodies and intricate sound-design that form the spine of Origins, keeping Bartels' voice in a largely decorative and impressionistic role up to this point. "Blossom and the Void" dissolves the introductory tension as Bartels comes out lyrically swinging, his digitized voice chanting widely over the mutated New Wave-esque anthem. Here, Bartels shows his instinct for dynamics by rising to bombast and quickly dispelling it, making steep yet grace- ful descents into skillfully delicate sound-design. Throughout Origins, the patient glacial aesthetic of his previous work is still discernible-- there are wordless, expansive panoramas that stretch out patiently for minutes at a time and smartly resist the impulse to pack each moment with a persona made even more impactful when Bartels chooses to wield it. At other times, his spokesmanship is woven discreetly into a larger tapestry, like on "See Out Loud" (and its ambient reprise) where Bartels' voice shimmers from a distance, covering the scene in diffuse splendor. "There is so much warping, mangling, re-sampling, reversing and pitching," Bartels says of his intricate vocal manipulations. "I printed a lot of the vocal recordings onto a tape machine from the `60s, first at one speed, and then I'd halve, or double the speed going back into my comput- er," he elaborates, illustrating how this kind of analog processing freed him from his habits. "Sometimes I'd do this multiple times on one recording or layer-- it gave me such a unique and unexpected sound. At this point, I threw away any inhibition on what type of vocals to have, or not have, on the album." This newfound freedom is palpable in the peaks of soaring grandeur that dot the emotional landscape of Origins. "All These Years" cathartically reaches one such summit in its second half after laying a path of gently plodding indie-IDM in its first. The cinematic vignette "Dreymur Aftur" provides pause for reflection amid its brisk procession of string plucks and rhythmic synthesizer while marching wordlessly into album-closer "This Won't Last Forever." Here at the end, Bartels' guitar playing is laid bare in the mix, skeletally framing a single ribbon of his voice as it unfurls into the atmosphere. Though the track isn't expressly lyrical, its starkness still exemplifies the new leaf of vulnerability Bartels has turned over on Origins, an album that documents his hard-won evolution from musician, to producer, to composer_ and finally_ his confident arrival in the role of songwriter.

blue + red + pink vinyl

It's a huge link-up. We proudly present our fifth compilation, celebrating seven years of service. Over the course of the 18 tracks, divided across 3 discs, a whopping 25 individual artists show us what they can do, repping the distinct sound they bring to the label.

On the first disc, techno giant Alan Fitzpatrick teams up with Drumcode affiliate Reset Robot on a big-room techno slammer before Israeli duo Red Axes take us into the big room of our mind with a transcendental techno cut. Laurence Guy guides us in a different direction completely, joining Lis Sarroca, Marc Brauner and Tender Games in creating a groove that you can sit back into, losing yourself amongst Lis' syrup-smooth house, Miller Blue's soul-stroking vocals and MB & TG's piano tickles.

Before you get too comfortable, the Time Is Now lot come through with a suitable dose of ruffage, from Main Phase and Soul Mass Transit System's giddy UKG and speed garage, to the '90s-inspired atmospheric garage house of Borai and Coldpast & Tufftrax.

Closing proceedings are SNF's melody specialists. Ams, Kassian and Kaysoul each offer their take on blissed-out deep house whilst Module One & Soela and Alex Virgo & Benjamin Groove infuse stripped-back garage and breaks instrumentals with contemplative atmosphere.
Order SNFLP013 now

Studio One was founded by Clement "Coxsone" Dodd1 in 1954, and the first recordings were cut in 1963 on Brentford Road in Kingston.12 Amongst its earliest records were "Easy Snappin" by Theophilus Beckford, backed by Clue J & His Blues Blasters, and "This Man is Back" by trombonist Don Drummond. Dodd had previously issued music on a series of other labels, including World Disc, and had run Sir Coxsone the Downbeat, one of the largest and most reputable sound systems in the Kingston ghettos.
In the early 1960s, the house band providing backing for the vocalists were the Skatalites[3] (1964–65), whose members (including Roland Alphonso, Don Drummond, Tommy McCook, Jackie Mittoo, Lester Sterling and Lloyd Brevett) were recruited from the Kingston jazz scene by Dodd. The Skatalites split up in 1965 after Drummond was jailed for murder, and Dodd formed new house band the Soul Brothers (1965–66), later named the Soul Vendors (1967) and Sound Dimension (1967-). From 1965 to 1968 they played 9 a.m. to 5 p.m., 5 days a week, 12 rhythms a day (about 60 rhythms a week) with Jackie Mittoo as music director, Brian Atkinson (1965–1968) on bass, Hux Brown on guitar, Harry Haughton (guitar), Joe Isaacs on drums (1966–1968), Denzel Laing on percussion, and on horns (some initially and some throughout): Roland Alphonso, Dennis 'Ska' Campbell, Bobby Ellis, Lester Sterling, among others on horns during the era of Rock Steady. Headley Bennett, Ernest Ranglin, Vin Gordon and Leroy Sibbles were included among a fluid line-up, to record tracks directed by Jackie Mittoo at Studio One from 1966-1968.
During the night hours at Studio One from 1965-1968, singers like Bob Marley, Burning Spear, The Heptones, The Ethiopians, Ken Boothe, Rita Marley, Marcia Griffiths, Judy Mowatt, Alton Ellis, Delroy Wilson, Bunny Wailer[4] and Johnny Nash, among others, would put on headphones to sing lyrics to original tracks recorded by the Soul Brothers earlier each day. These seminal recordings included "Real Rock" (by Sound Dimension), "Heavy Rock", "Jamaica Underground", "Wakie Wakie", "Lemon Tree", "Hot Shot", "I'm Still In Love With You", "Dancing Mood", and "Creation Rebel".
Jackie Mittoo, Joe Isaacs, and Brian Atkinson left Studio One in 1968, recorded drums and bass for Desmond Dekker's and Toots' biggest hits at other Kingston studios, then moved to Canada. Hux Brown stayed in Jamaica to record on the soundtrack The Harder They Come, The Harder They Fall, and toured in Nigeria with Toots and the Maytals and Fela Kuti. The Soul Brothers (a.k.a. Sound Dimension) formed the basis of reggae music in the late 1960s, being versioned and re-versioned time after time over decades by musicians like Shaggy, Sean Paul, Snoop Lion, The Clash, String Cheese Incident, UB40, Sublime, and countless other Billboard originals and remakes trying to emulate their original Rock Steady sound at Coxsone's Studio One.
The label and studio were closed when Dodd relocated to New York City in the 1980s.

In a world of Player Haters and Nay sayers its only right that the Underground Legend sets that standard with high quality sonics for you to ride around and be motivated by. New Jersey's own rising star Da$H links with London's SONNYJIM, who handles production duties, to bring you their latest offering "BETWEEN THE LINES". A project that embodies Grimy Drums and soulful Samples laced with thought provoking lyrics that complement each other perfectly.

Pals FM: Floor Materials Vol.2 is the second dance music compilation from WALLS AND PALS. The aim is to share various ideas of dance floors instead of lingering on a certain genre or style, and while being DJ Friendly, it also serves as an exchange ground where production techniques of artists co-exist. All four tracks in Vol.2 correspond with the common purpose of bringing out ‘Floor Materials’, keeping distinct identity from each musician. In ‘Cofrica’, rapper and producer Simo of Y2K92 injects his long-time affection of Detroit flavor into a minimalistic form. Conversely, DOTT from the Thai label More Rice brings intricate and complex rhythms centered around the step sequencer in ‘Antibody Movement’, walking a fine line between House and Techno while the essence of Tech House is preserved . And in ‘Pump It Up’, ACIDWORK demonstrates what the outcome would be when Electro runs through digital instruments and samplers. Last but not least, Seo John, who put out his first EP DIVE last year from the label GODDEZZ, follows up with ‘miQro’, creating a different side of Trance that is more adequate for clubs or concrete spaces rather than outdoor raves or festivals. In the same manner with the preceding release Pals FM: Floor Materials Vol.1, Vol.2 is a compilation executed by fellow Asian musicians across the region. Beyond the reopened borders, and just like the excitement and stimulus at unusual events, this compilation serves to contribute to the dancefloor as an interesting ‘Material’ than simply as a ‘Tool’.

In 2018, the legendary Steve Miller Band’s Complete Albums Volume 1 (1968-1976) debuted as an unprecedented and acclaimed 9LP vinyl box set and individual 180-gram black vinyl LPs. Today, Steve Miller and Capitol/UMC are incredibly excited to announce plans for the May 24 global release of the collection’s second volume, presenting nine more Steve Miller Band studio albums in a new 180-gram vinyl box set called Complete Albums Volume 2 (1977-2011). Spanning the band’s multi-platinum 10th studio album, 1977’s Book of Dreams, through 2011’s Let Your Hair Down, the albums have all been remastered and are available now for preorder. Each album is also available for preorder as individual 180-gram black LPs to be released on the same date.

Sony Music Masterworks announces the vinyl format release of 'Sable (Original Video Game Soundtrack)', featuring instrumental and vocal music written by Japanese Breakfast’s Michelle Zauner for the globally acclaimed open world video game. The critically celebrated soundtrack is now being released as a stunning double coloured vinyl (purple/pink). This wasn’t Zauner’s only video game contribution of 2021: for the trailer to the new Sims 4 expansion pack 'Cottage Living', the singer/musician/director/bestselling author recorded a new version of her song 'Be Sweet' in Simlish, the fictional language featured in the Sims games. Drawing from her years of songwriting experience, Sable finds Zauner making new explorations into ambient and experimental music, the resulting soundtrack as breathtaking and otherworldly as the game itself. Sable had been hotly anticipated after being teased at E3 2018. The game is a unique and unforgettable journey accompanying guide Sable through her Gliding; a rite of passage that will take her across vast deserts and mesmerizing landscapes, capped by the remains of spaceships and ancient wonders. Of the soundtrack, Zauner says, “It was important to me that each biome in this world felt unique. I used woodwinds and vocal layering to make monumental ruins feel ancient and unknown, industrial samples and soft synths to make atomic ships feel cold and metallic, classical guitar and bright piano to make encampments feel cozy and familiar. I wanted the main themes to recall iconic works of Joe Hisaishi and Alan Menken, to fill the listener with the childlike wonder of someone on the precipice of a grand discovery."

Originally released in May 2006 through the German label Karaoke Kalk, »Osaka Bridge« was an album that captured the joyful amateurism of Tori Kudo's free-spirited Japanese collective Maher Shalal Hash Baz and Bill Wells’ rich, wistful and easy sense of melody. Approaching brass band and jazz music with a knack for making playing imperfectly feel perfectly right, »Osaka Bridge« became nothing short of groundbreaking when it was released to critical acclaim, becoming an instant classic among musicians and fans alike. Coinciding with the release of the second LP of Wells’ on-going collaboration with Danielle Price on tuba, »The Sensory Illusions«, Karaoke Kalk makes this highly sought-after record available again on vinyl for the first time in 16 years.

The pairing of the prolific Scottish pianist and composer and the fluctuating collective active since the mid-1980s was an easy, natural one—a union particularly apt and complementary. But this is not to say that the 15 recordings which made up »Osaka Bridge« were in any way seamless. The horns played by these self-taught musicians strain and struggle with Wells’ luscious arrangements; each note is given all the stiff emphasis that you’d expect of a high school brass band at its first rehearsal. Songs fall in and out of rhythm, and a track like »Poxy« misses its intended swing feel by a country mile. Of course, this is all part of the magic. Maher Shalal Hash Baz take Wells’ melodies and strip them back to their emotional core, disallowing all artifice and revealing a stark, serene beauty.

Particularly affecting are »On The Beach Boys Bus«—described by colleague Jens Lekman as the »the most beautiful melody I’ve ever heard«—and »Time Takes Me So Back«, the two tracks sung by Kudo’s wife Reiko. Inspiration for both pieces came to Wells in dreams. The former was sung by a group of tanned Californians on the way to a Beach Boys convention, the latter by his grandmother shortly before she passed away. Reiko’s voice gives each song a haunting fragility that enhances their phantasmagoric character. »Cowtail Calypso«, on the other hand, was born when Wells asked Tori Kudo to sing Roger Miller’s »King Of The Road« over a syncopated, propulsive melody. Kudo’s ambiguous response (»maybe,« which according to Wells usually translated to »forget it«) resulted in a brief, idiosyncratic track that nevertheless exceeded all of Wells’ expectations.

Of the instrumental tracks, »Liquorice Tics« stands out for its rolling rhythms and circular melody, while »Family Sighs« creates a brooding atmosphere which perfectly encapsulates the conflicting feelings many people have for their immediate family. For the most part, the instrumentals are concise—a melody stated once and then dispensed with—but their brevity only heightens the impact. Even (or especially) 16 years later, »Osaka Bridge« continues to be an almost accidentally timeless document that captured fleeting moments and personal revelations at their most spontaneous and unaffected. As someone put it so aptly in a Discogs comment a few years back, »this is the album which is able to make aliens understand what humankind is about.« You better turn up the volume so that everyone can hear it everywhere.

Having co-produced Duran Duran’s acclaimed fifteenth studio album, ‘FUTURE PAST’, Erol Alkan returns to recent single ‘ALL OF YOU’ to deliver a very special Extended Rework. Paying tribute to the band’s pioneering ‘Night Version’ remixes that tipped their earliest material towards the dance floor, this grandiose reimagining equally recalls Alkan’s beloved reworks from over the years.

Recorded with founding members Simon Le Bon, Nick Rhodes, John Taylor and Roger Taylor, ‘All Of You’ also features lead guitar from Graham Coxon and backing vocals by Barli. Blessed with the raw material, Alkan distills each element into a glorious disco odyssey totalling nearly ten minutes, an epic but sensual dance floor trip that already ranks amongst his finest work. 

Phantasy is proud to release 'ALL OF YOU (Erol Alkan's Extended Rework)’ (backed with an instrumental version) on a limited run of 12” vinyl.

Hot Jams Straight out the 330XX !!

In collaboration with his Ritmo Astral label, Belters is pleased to introduce Orion Agassi from the Asturias region of Spain! Remastered for vinyl, this one has been a while in the making and seems to be reaching the right ears so far. It's very exciting to now share with yours too.

Who knew that classic house and boogie had been missing some reggaeton vocals?? Each track has been very effective on dancefloors around the world and counts support from people you've heard of. 'Dos Blokes' even got a notable mention in the New Yorker.

“a fluorescent EP that fuses reggaeton house and electro into unexpected but undeniably effective club tracks” - Resident Advisor

RED APPLE MARBLE VINYL REPRESS.

Everything changed for The Beths when they released their debut album, Future Me Hates Me, in 2018. The indie rock band had long been nurtured within Auckland, New Zealand’s tight-knit music scene, working full-time during the day and playing music with friends after hours. Full of uptempo pop rock songs with bright, indelible hooks, the LP garnered them critical acclaim from outlets like Pitchfork and Rolling Stone, and they set out for their first string of shows overseas. They quit their jobs, said goodbye to their home town, and devoted themselves entirely to performing across North America and Europe. They found themselves playing to crowds of devoted fans and opening for acts like Pixies and Death Cab for Cutie. Almost instantly, The Beths turned from a passion project into a full-time career in music.

Songwriter and lead vocalist Elizabeth Stokes worked on what would become The Beths’ second LP, Jump Rope Gazers, in between these intense periods of touring. Like the group’s earlier music, the album tackles themes of anxiety and self-doubt with effervescent power pop choruses and rousing backup vocals, zeroing in on the communality and catharsis that can come from sharing stressful situations with some of your best friends. Stokes’s writing on Jump Rope Gazers grapples with the uneasy proposition of leaving everything and everyone you know behind on another continent, chasing your dreams while struggling to stay close with loved ones back home.

"If you're at a certain age, all your friends scatter to the four winds,” Stokes says. “We did the same thing. When you're home, you miss everybody, and when you're away, you miss everybody. We were just missing people all the time.”

With songs like the rambunctious “Dying To Believe” and the tender, shoegazey “Out of Sight,” The Beths reckon with the distance that life necessarily drives between people over time. People who love each other inevitably fail each other. “I’m sorry for the way that I can’t hold conversations/They’re such a fragile thing to try to support the weight of,” Stokes sings on “Dying to Believe.” The best way to repair that failure, in The Beths’ view, is with abundant and unconditional love, no matter how far it has to travel. On “Out of Sight,” she pledges devotion to a dearly missed friend: “If your world collapses/I’ll be down in the rubble/I’d build you another,” she sings.

“It was a rough year in general, and I found myself saying the words, 'wish you were here, wish I was there,’ over and over again,” she says of the time period in which the album was written. Touring far from home, The Beths committed themselves to taking care of each other as they were trying at the same time to take care of friends living thousands of miles away. They encouraged each other to communicate whenever things got hard, and to pay forward acts of kindness whenever they could. That care and attention shines through on Jump Rope Gazers, where the quartet sounds more locked in than ever. Their most emotive and heartfelt work to date, Jump Rope Gazers stares down all the hard parts of living in communion with other people, even at a distance, while celebrating the ferocious joy that makes it all worth it -- a sentiment we need now more than ever.

The RED GREEN BLUE album will be released via 3CG Records on May 1320 The new Red Green Blue album brings together the band's three unique creative voices like never before with a third of the album written and produced by each brother (Taylor’s Red, Isaac’s Green and Zac’s Blue). The project brings together a team of collaborators, with the album co-produced by Grammy Award-winning Producer, Engineer and Mixer Jim Scott (Tom Petty, Red Hot Chili Peppers, Wilco), and Grammy Award-winning Artist and Producer David Garza (Fiona Apple, Midland, Sharon Van Etten). Beginning in June in Europe, the RED GREEN BLUE WORLD TOUR will bring HANSON to the US and Canada from July-September, Latin America in September and Australia & New Zealand in November. The band’s first major tour since their String Theory album & tour in 2018/2019, fans will be in store for a tour which not only features the premiere of 15 songs from the new project but will also be the first tour to include live performances of 2020’s Against The World as well as career spanning set lists of fan favorites. Fresh off of the release of Against The World, featuring seven songs released consecutively each month, the prolific band of brothers are reinforcing their deep musicality and credibility as writers, performers and producers with the new project. Leading up to May’s full album release of RED GREEN BLUE, fans will get a taste of the trifecta of sound, with a single featuring each of the brothers. Coming February 11 Taylor’s earnest and dynamic “Child At Heart”, March 11 will see the release of Isaac's organic and heartwarming “Write You A Song” and April 15 will feature the rock infused pop of Zac’s “Don’t Let Me Down”.

Endearing Montreal-based trio Afternoon Bike Ride announce their forthcoming second album "Glossover", set to be released via Friends of Friends. Consisting of Lia Kurihara (vocals, guitar, programming), David Tanton (vocals, guitar, drums, programming), and Éloi Le Blanc-Ringuette (vocals, keys, drums, programming), Afternoon Bike Ride is a lo-fi folk trio providing a comfort zone in audio form. It"s in the name. When all three artists are together, their chemistry culminates into one organic and lush sound. Sonics that feel natural and freeing, as if fireside with a handful of microphones and instruments and toys. The band has released a series of cohesive projects where field recordings blend with ambient, acoustic, folk, and pop. A cauldron of genres they stir during each song. With precision, Afternoon Bike Ride presents a soothing sound all their own, one that continues to expand and deliver with each new release.

Blue Vinyl
After Psychiatre's previous electro-focused Lost Palms release proved his artistic malleability, his latest sees him return to his signature sound. NMAV EP radiates warmth; music that sits back into itself, and invites its listener to do just the same.

It begins with three deep house soothers, the first taking disco as its springboard, and the rest stripping it right back to a minimal, soul-caressing effect.

On the B-side the sun doesn't stop shining, except this time Psychiatre injects a healthy dose of acid and the groove of a breakbeat. But far from the rave connotations of each style, Psychiatre teases out the most gentle facets of each, bringing the EP to a suitably laid-back close.

At last! The Wedding Present single series comes to an end. Sad for fans of the Weddoes but a good day for those of us who have to find all these damn things in the stock room. They round the year off with 'The Loneliest Time Of The Year' which might be a cover of the Mabel Christmas tune or just another song about the time Dave Gedge's girlfriend left him. The release of this monthly series, in 2022 The Wedding Present is releasing a new 7" single every month, the final this year's Christmas available for indie record stores only in December. This fascinating project - which goes under the name of 24 Songs - comes thirty years after the band's similar Hit Parade series of 7"s in 1992 and features two brandnew recordings of the current WP incarnation. Each of the records comes in a beautifully designed sleeve featuring brutalist photography by Jessica McMillan. Each single will be limited to 2,400 copies ww.